ABOUT THIS ALBUM

Album Notes

Bassist/composer Mario Pavone has collaborated with both legendary innovators and today's most respected young musicians to consistently define the cutting edge of jazz for the past 40 years. He has anchored the trios of Paul Bley (1968-72), Bill Dixon (1980's), and the late Thomas Chapin (1990-97), and co-led a variety of notable ensembles with Anthony Braxton, Wadada Leo Smith, Marty Ehrlich, and Michael Musillami. His list of sidemen past and present includes Steven Bernstein, Gerald Cleaver, Dave Douglas, Peter Madsen, Tony Malaby, Joshua Redman, George Schuller, Michael Sarin, Craig Taborn, and Matt Wilson among many others. And, unlike most artists whose careers span five decades, his most recent recordings are his most widely acclaimed, appearing on best-of-the-year lists from Slate.com, AllAboutJazz.com, AllAboutJazz-New York, Coda, the Village Voice , and the New York Times among others.

Although a long career in jazz awaited him, Pavone never received formal music training and didn't seriously encounter jazz until his freshman year at the University of Connecticut in 1958. Growing up in Waterbury, Connecticut, he developed a fondness for black R&B vocal groups, as well as the 1940's movie music he heard as a child, but a college friend's jazz record collection—and seeing John Coltrane one fateful night at the Village Vanguard in 1961—set him on the musical path. With legendary guitarist/fellow Waterbury native Joe Diorio's encouragement, Pavone rented a bass in the summer of 1964 and began plucking out the percussive sound that would become his trademark.

He was playing professionally by 1965, though his full-time job was putting his Industrial Engineering degree to work for major corporations. Upon hearing the news about Coltrane's death in 1967, he left his briefcase on his desk, got in the car, and drove to the funeral, where he decided on the spot to dedicate the rest of his life to music. He toured Europe with Paul Bley in 1968, and performed on the pianist's recording, Canada (Radio Canada), with Barry Altschul. Soon after he met vibraphonist/composer Bobby Naughton, among others, and became a part of New York's early 70's loft scene with groups like Bill Dixon's Orchestra of the Streets. By 1975, he was a founding member of the New Haven, Connecticut-based Creative Music Improvisers Forum (CMIF), with Naughton, Wadada Leo Smith, Gerry Hemingway, Wes Brown, Reverend Dwight Andrews and others, which produced concerts and recordings that gave musicians more control over their own music.
In 1980, Pavone began an 18-year musical relationship with Thomas Chapin, which would lead to a number of collaborations, most notably Chapin's seminal trio with drummer Michael Sarin. Around the same time, Pavone recorded his first titles as a leader, 1979's Digit and 1981's Shodo on his own Alacra label, crediting Naughton and Smith with motivating him to write his own music and teaching him about open-ended composition. Since Chapin's untimely death in 1998, Pavone has recorded exclusively with his own bands, with the exception of his son Michael's 2001 debut, Trio (Playscape). His discography now features 17 recordings as a leader/co-leader, including his acclaimed 2006 release, Deez to Blues, on Playscape Recordings, the label he has called home since 1999. In addition to his ongoing activities as a bandleader, Pavone's artwork and photography have graced the covers of dozens of recordings since the mid 90's, and he currently serves as an educator, administrator and board member for the Litchfield Jazz Festival and Litchfield Summer Jazz Camp in Litchfield, Connecticut.

deez to blues

Bassist/composer Mario Pavone's 17th recording as a leader/co-leader, and his third to feature trumpeter/arranger Steve Bernstein, documents six new original Pavone compositions that feature his trademark style of putting the rhythm section at the center of the action and casting traditional lead instruments in a supporting role. Recorded in May 2005, following tours of Western Europe and the Greater New York area celebrating Pavone's 40th anniversary in music, Deez To Blues also features a performance of the Marty Ehrlich composition, "Day of the Dark Bright Light."

Pianist Peter Madsen and drummer Michael Sarin, who have worked with himextensively in the past, form the core of the sextet, but each of Pavone'sguests makes significant contributions to this bold music. Howard Johnsonadds diverse horn textures and smart improvisation, alternating on tuba,baritone sax and bass clarinet. Trumpeter Steven Bernstein and violinistCharlie Burnham also help flesh out Pavone's thorny compositions.
— Chuck Obuchowski, Hartford Courant (Best of 2006 list)

He attacks his acoustic bass, strumming the strings, pulling on themforcefully, as if the music inside was hiding. Bernstein's bluesy, boozy,slide trumpet lines are a perfect foil for Johnson's tuba and baritonesaxophone (his solo on "Day of the Dark Bright Light" is quite lovely) whileBurnham's classy yet blues-soaked lines work especially well with Madsen'sfacile yet exciting piano breaks (his romp through "Xabo" is worth the priceof the disk.) Sarin is the unsung hero here, providing a soft cushion on theballads and really "stoking the coals" on the up-tempo tracks. If you havenot already added Deez to Blues to your collection, wait no longer. — Richard Kamins, Hartford Courant

Best Jazz Albums of 2006 List — Fred Kaplan, Slate.com

Top 10 of 2006 List — Tom Hull, Village Voice

Best New Issues — Troy Collins, Cadence Record Poll 2006

As with his other work, the compositions are imbued with a sense of restlessness, a constanbtly shifting terrain that changes course so rapidly that initial trips can sometimes prove hard to grasp—but that is the pleasure of Pavone's music, and for those willing to follow the labyrinthian structures, the rewards are considerable. With Deez to Blues, Pavone has added another chapter to his already deep catalog, with a record that is both opaque and demanding, yet also joyous in its own right. — Jay Collins, Signal to Noise

Rounded out by a traditional rhythm section of piano and drums, the sonic palette is rife with possibilities as Bernstein is joined on the front-line by violin and/or tuba, baritone sax or bass clarinet. From the insistent swing of "Ocbo" to the gentle beauty and lyricism of "Day of the Dark Bright Light," Pavone has crafted yet another gem. If you have yet to discover this stalwart of the New York City scene, now is the time and this is the place. — James Lamperetta, The Saratogian

His groups have often found a prominent place for brass instruments, and the combination of Bernstein and Johnson provides plenty of scope for inventive mayhem on this outing, while also placing a very broad palette of instrumental timbre and texture at the leader’s disposal. Burnham's violin adds an intriguing voice to the surging, tumbling group interplay while the rhythm trio lies frimly at the heart of everything that goes on in the music, often carrying the melody line while the horns provide support in an unusual role-reversal pattern. Intense and absorbing music. — Kenny Mathieson, Jazzwise

...Pavone finds himself in the company of some of the East Coast's finest improvisers for a set of compositions that push the tradition forward while always looking back to its origins. Much like his stylistic forefather, Charles Mingus, Pavone's notion of Jazz tradition is playful yet reverent. With intricate, chart driven structures and supple interaction between the rhythm section, Pavone's music is a multi-layered splendor. — Troy Collins, Cadence

Pavone's bass is certainly at the center of everything, the core force that drives the piano and drums of longtime comrades Peter Madsen and Michael Sarin, while perturbing Steven Bernstein's trumpets, Howard Johnson's bass horns, and Charles Burnham's violin more erratically. The complexity, even on "Second-Term Blues," is wondrous. A MINUS. — Tom Hull, Village Voice

Pavone's music is in constant flux and flow, flying along the outer edge of the envelope but never losing its grip on the basics. — Fred Kaplan, The Absolute Sound

As a radio programmer, the difficulty with Mario Pavone's releases is not how to find a cut worthy of play, but how to determine which cut to play. Always compelling, Mario's compositions and releases continue to satisfy. It's hard not to compare him with the great Charles Mingus. He is a consummate bass player, composer and leader. On his new release, he takes the correlation one step closer, focusing on using the bass as a lead instrument...and as a leader compels his sidemen to come up with some of their best performance work. Each tune makes an important statement, and each player gets a chance to shine on Deez to Blues. Each time I play the release I'm glad I did...it always contributes to a more inspiring show. Those who have yet to learn of Mario, need to learn. — Larry Blood, Host of KUSP-FM's Out Front, Out Back

...another example of why I find this guy always worth listening to. His albums come in and they go to the top of the pile that I have to be listening to pretty quickly because they're inventive, they're intriguing and he is a fun writer. And, he's been working with some of these guys for a long time so there's a great cohesion to the music that he plays. The fact is, this band always sounds bigger—all of Mario Pavone's bands sound bigger than they actually are. He gets the most out of the different colors he can work with and the individual musicians. I recommend this guy a lot. — Neil Tesser, Listen Here!

New to the Pavone orbit are Howard Johnson, a triple threat on tuba, baritone saxophone and bass clarinet, who provides a welcome low-pitched anchor, and violinist Charles Burnham, known for his work with the Odyssey trio, adding string quivers that range from classic Swing lines to near Old Timey country hoedowns. Returning are subtle drummer Michael Sarin and pianist Peter Madsen, whose flashing runs wring nuances from the music without hogging the spotlight. — Ken Waxman, Coda

****1/2...Pavone made wise decisions in terms of personnel and material. Compositionally, the bassist builds upon contrasts (a skittish line against a loping groove on "'Zines"), role reversal (piano and bass state the melody on "Xapo" while the horns trace the harmonic movement) and giving well-worn forms new elasticity (the woozy "Second-Term Blues"). Also, he never fails to implant an effective hook. — Bill Shoemaker, DownBeat

His sound is woody, bold, and vibrant and seems to add luster to everyone around him. That's quite an accomplishment when those around him are so illustrious on their own...Pavone's compositions—six of the seven tracks are his—give them plenty to chew on...the solos nest within the ensemble, feeding off the colors around them. — David Dupont, One Final Note

On Deez To Blues, a sextet featuring acerbic trumpeter Steven Bernstein, violinist Charles Burnham and the consummate doubler Howard Johnson showcase Pavone's quirky, angular pieces in all their idiosyncratic beauty...each member contributes memorable solo statements. For all the powerful statements made by the horns, the real show here is in the remarkable rhythm section...Madsen's piano is both a pliant foundation and a soloistic force to be reckoned with, while the always tasteful drum work of Michael Sarin is shown here in all its grace and understatement. Of course, one would be remiss in neglecting to mention the astonishing contribution of the leader himself in this memorable outing...especially on "Second-Term Blues" [Pavone's playing] is razor sharp and will surely draw the rapt attention of any bass lover. — Matthew Miller, AllAboutJazz-New York

Recommended New Release — David Adler, AllAboutJazz-New York (April 2005)

The music itself swings without ever being predictable...the solos are all strong with an edgy 'now' sound about them. And, all the musicians feel quite obviously at home in this idiom which seamlessly blends bop and free as well as in and out. — Justin Glick, WNUR-FM (Evanston, IL)

Publisher's Pick (March 5th, 2006) — Michael Ricci, AllAboutJazz.com

This dynamic rhythm team has been together for over a decade and sound especially spirited, always moving tightly together, expanding, contracting and shifting like an organic motor...those in the know should buy this treasure chest of delights. — Bruce Gallanter, Downtown Music Gallery

The bassist's contrapuntal writing updates the jazz tradition in subtle, inventive ways, bending the rules, rather than breaking them. Pavone's music exudes a living, breathing quality; his sextet is all ears, as well as muscle. Deez to Blues is a high water mark in a consistently exceptional discography.
— Troy Collins, AllAboutJazz.com

Deez to Blues is a triumph for Pavone and a record that will leave an indelible impression. — Jerry D'Souza, AllAboutJazz.com

A great and colorful record, showing both Pavone\'s respect for the tradition and his roots in the loft-jazz scene, but also his willingness to experiment, as with the addition of a violin player here. Quirky but lovely tunes, sometimes reminicent of latter-day Duke Ellington, great interaction between the musicians, and Pavone is a premier bassist and leader.

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